Leave Babylon
The Trope of Babylon in Rastafarian Discourse
Bibliographic Data
| ID | 20209484 |
|---|---|
| Authors | Steed Vernyl Davidson (Pacific Lutheran University, corresponding author), Steed Davidson |
| Year | 2008 |
| Volume | 6 |
| Issue | 1 |
| Pages | 46-60 |
| Publication date | 2008-09-07 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Black Theology (JOURNAL) |
| Journal identifiers | ISSN: 1476-9948 • E-ISSN: 1743-1670 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1558/blth2008v6i1.46 |
| OpenAlex | W2008273982 |
| Language | EN |
| Citations received | 3 |
| References cited | 3 |
This article explores the usage of the term "Babylon" in Rastafarian liberation discourse as distinct from the exodus motif normally associated with theologies of liberation. This usage comes mainly from Marcus Garvey's notion of a "Black Zionism" that pictured Zion as a place of restoration. In its usage in the prophetic books of Jeremiah and Isaiah, Zion serves as the foil for Babylon and in many instances the two topoi are paired. The article argues that the Rastafarian reading of the biblical texts, more so the prophets and not the book of Revelation, generated the notion of Babylon as the evil empire; any place outside of Africa as Babylon, and the British Empire as Babylon with Zion as its counterpoint. An exploration of the music of Bob Marley, as representative of Rastafarian discourse, also reflects the pairing of Babylon-Zion, as seen in the prophetic texts
Aesthetics · Ancient history · Art · Counterpoint · Empire · Literature · Revelation · Sociology · Topos theory · Caribbean history, culture, and politics · History · Music History and Culture · Philosophy · Race, History, and American Society
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,38 |
| Citation span | 2018 - 2024 (7) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 3 |